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Colourful fashion trends of India

With the end of the 20th century came the end of all hype which has developed a more practical and pragmatic environs and has given a more stable picture of the fashion business.

In the 50s, 60s and 70s, the Indian fashion scenario wasn’t precisely colorless. It was exciting, stylish and very graceful. There were no designers, models, star or fashion design labels that the country could show off. The value of a garment was judged by it is style and fabric and not by who made it.

It was regarded as ever so chic and fashionable to approach any unfamiliar tailor, who could make a garment for a few rupees, providing the perfective fit, finish and style. The high society lady, who wore it, was proud for getting a good bargain and for giving her name to the end result.

In 60s, tight ‘kurtas’, ‘churidars’ and high coiffures were a trend among ladies. It was an era full of naughtiness and celebration in arts and music and cinema, manifested by liberation from restriction and acceptance of new types of materials such as plastic film and coated polyester fabric.

The 70s witnessed an increase in the export of established materials outside the country as well as within. Hence, global fashion arrived in India much before the MTV culture with the bold colors, flower prints and bell-bottoms. Synthetics turned trendy and the disco culture affected the fashion scenario.

It was in the early 80s when the basi fashion store ‘Ravissant’ opened in Mumbai. At that time garments were retailed for a four-figure price tag. The ’80s was the era of self consciousness and American designers like Calvin Klein became popular. In India too, silhouettes became more masculine and the ‘salwar kameez’ was designed with shoulder pads.

With the evolution of architect stores in Mumbai, the refined and tasteful fashion design culture was a trend amongst Indians along with their heavy price tags. No doubt that a garment with a heavy price tag was at the bottom stage of fashion. But clients without delay transformed into the high fashion fold where they were convinced that that the word ‘elegant fashion design culture’ means, it had to have a higher price tag.

Garments were sold at unbelievable prices only because the designers had decisive to get themselves noticed by making showy outfits and getting affiliated with the right shows, celebrities and events.

Later, fashion shows shifted to competitory events each attempting to out-do the other in theme, guest list and media coverage. For any newcomer, the fashion business was the number one professional art that time.

In the 90′s, the last decade of the millennium, a move towards the drastic pairing down returned with ethnic wears (Today, ethnic wear market in India is accounted to Rs. 9000 crore). This led to the decline and the recession, the push to trade at any cost and keep staying in the limelight. With heavy cut throat contest and sound cognizance of the client, the inevitable occurred. The price tags, which had once reached at a peak, started out their downside journey.

At those times the downturn was not only being experienced in the price tags of the garments, but also in the business of fashion shows. More models, choreographers, make-up men, hairstylists and designers streamed down into their business.

The fun and party time in the Indian fashion scenario had not ended with this, but continued. It was a point, where it reached at a sure steady level and from there, in the beginning of the 21st centaury, with new designers and models and some sensible designing; the fashion hype sped it is speed.

Indian fashion industry spreads it is wings globally

For the international fashion industry, India is a very huge exporter of fabrics and accessories. All over the world, Indian ethnic designs and materials are considered as a substantial facet for the fashion houses and garment manufacturers. In fabrics, while sourcing for fashion wear, India likewise plays a critical role as one of the biggest players in the international fashion arena.

India’s amount of energy not only depend on it is tradition, but likewise on it is raw materials. World over, India is the third greatest producer of cotton, the second biggest producer of silk and the fifth greatest producer of man-made fibres.

In the international market, the Indian garment and fabric industries have a lot of rudimentary distinct elements that are compliant, in terms of cost effectiveness to produce, raw material, quick adjustment for selling, and a wide ranges of preference in the designs in the garments like with sequin, beadwork, aari or chikkon embroidery etc, as well as for less skilled work force. India provides these fashion garments to the international fashion houses at competitory prices with shorter lead time and an effective monopoly in designs which covers elaborate hand embroidery – accepted world over.

India has always been considered as a default source in the embroidered garment segment, but the changes of rupee versus dollar has further decreased the prices, thereby attracting buyers. So the global fashion houses walk away with customized stuff, and in the end crafted works are sold at very cheap rates.

As far as the market of fabrics is concerned, the ranges available in India may attract as well as confuse the buyer. A basic judgmental expectation in the choosing of fabrics is the present trend in the global market. Much of the production tasks take place in constituents of the little town of Chapa in the Eastern state of Bihar, a name one would have never even heard of. Here fabric making is a family industry, the ranges and quality of raw silks churned out here belie the crude production methods and instrumentation used- tussars, matka silks, phaswas, you name it and they may design it. Surat in Gujarat, is the provider of an awful set of jacquards, moss crepes and georgette sheers – all fabrics employed to make dazzling silhouettes demanded world over. Another Indian fabric design that has been exceptionally designed for the fashion history is the “Madras check” in the first place applied for the universal “Lungi” a simple lower body wrap worn in Southern India, this product has now traversed it is way on to bandannas, blouses, home furnishings and closely any thing one may think of.

Recently some designers have started using traditionalisti Indian fabrics, designs and cuts to heighten their fashion collections. Ethnic Indian designs with batik cravat, tie-and-dye or vegetable block print is ‘in’ not just in India but all all over the world.

In India, folk embroidery is always affiliated with women. It is a way of their self expression, and they make designs that depict their native culture, their religion and their desires. Women embroider clothes for their personal use, and the persons linked with the pastoral profession prepare embroidered animal decorations, ornamental covers for horns and foreheads and the Rabaris of Kutch in Gujarat do a lot of of the finest embroidery. Embroidered pieces are made for the duration of the festivals and marriages, which are appliqué work called ‘Dharaniya’. One of the substantial styles of Saurashtra is ‘Heer’ embroidery, which has bold geometric designs, woven on silks. The Mutwa women of the Banni area of Kutch have a arousing and attention holding embroidery where they make fine embroidery works with designed motifs and mirrors in the size of pinheads, the Gracia jats use geometric designs on the yoke of long dresses. Moreover, the finest of quilts with appliqué work are also made in Kutch.

Garments embellishment with bead work is another area where it in demand in the international market. Beads are employed to prepare garlands and other accessory items like belts and bags and these patterns now available for haute couture evening wear too.

According to a survey, in recent times Indian women have given up their established sari for western wears like t-shirts and shorts, as they feel more comfortable in skirts and trousers rather of saris and salwar kameez. It’s been cited that women spend just $165 million on trousers and skirts versus 1.74 billion dollars expended by men on trousers. With more women coming out to work, the (combined) branded trouser and skirts market has been increasing at a whopping 27 per cent in sales terms. Women feel that Western costume is more suitable, specially when working or using public transportation. Many corporate offices are likewise in favor of their laborers wearing Western wear.

In India, Western inspiration is increasing due to the influence of TV and films. Besides, buying goods malls marketing branded clothes have also mushroomed in India and are arousing and attention holding the youngsters. Recently, architect wear is being promoted through store chains such as Shopper’s Stop, Pantaloons, Westside, etc. Companies such as Raymond and TCNS have likewise set up their exclusive stores for architect wear such as Be: and W.

The market of India fashion industry

Recently, a report stated that the Indian fashion industry may increase from it is net worth of Rs 200 crore to Rs 1,000 crore in the next five to ten years. Currently, the global architect wear market is amounted at $35 billion, with a 9 per cent growth rate, with the Indian fashion industry creating hardly 0.1 per cent of the global industry’s net worth.

According to approximations, the total apparel market in India is calculated to be with regards to Rs 20,000 crore. The branded apparel market’s size is closely one fourth of this or Rs 5,000 crore. Designer wear, in turn, covers closely regarding 0.2 per cent of the branded apparel market.

At present, the greatest sales turnover within the architect wear segment is in regards to Rs25 crore, with other well-known names having less turnovers of Rs10-15 crore. In view of the chances of the Indian fashion industry for growth, the figures are not very hopeful.

The figure of fashion industry

o The coordinated market for architect apparel is regarding Rs 250 crore

o Designer wear calculates to less than 1 per cent of the apparel market

o The international market for architect wear is 5 per cent of total apparel market

o The international market for architect wear industry is largely dependent on the small-scale sector

o Consumers for architect wear have a each year household income of Rs 10 lakh-plus. There are 3 lakh such households developing at 40-45 per cent

o Designer wear industry is projected to increase to Rs 1,000 crore by 2015.

o More than 81 per cent of the population beneath 45 years of the age is fashion conscious.

Many fashion designers and management experts foresee an intermediate growth of regarding 10-12 per cent for the Indian fashion industry in the coming years. Though, the growth rate could be more than 15 per cent, if infrastructural and other logistical bottlenecks and drawbacks are over come.

India needs more crusade to overcome

However, in spite of the gains available in India there are also a lot of disadvantages. India is not a remarkable player in the international market with reference to brands because of it is disability to add value to products. This is observed by the fact that closely 50 per cent of it is exports are apparel and made-ups where value addition is essential. Likewise, 75 per cent of domestic apparel market is commoditized and unbranded and very few Indian brands do survive in the alien markets. Evidently, the Indian market has not made a strong stand and accordingly it is difficult to make Indian brands that may compete with international brands in India.

Another reason for the fashion industry’s inadequate growth is the fixed experience of the designers and the platform they are offered. The insignificance stalks from the reality that most of the young talent is hired by the more prominent names to work in their studios, thence imprinting their work with the label of the big designers.

Though performing person formally presenting something is not an substitute choice for most of the young talent, because of the limitation of finance, a beginner designer’s name fails to come to the forefront.

Another thing, with regards to the ramp, is what the designers offer is scarcely suitable to be worn ordinarily. You’ll see there’s dissimilarity amid what is there on the ramp and what the Page Three crowd wears. Some believe at present the fashion is in, but the tendency hasn’t changed much as it is the old ones coming back. We have had short kurtas, long kurtas, flowing skirts, etc. coming back into fashion with only a new potpourri of designs.

Many management advisors and pros believe that the Indian fashion industry will be boosted if the new comers are salaried proper attention. What they require is more help so that their work gets due recognition. According to the consultants and masters there will have to be a panel of persons who choose designers for showcasing according to their work and not their name or who they’ve worked for earlier, and consequently selection would be strictly based on quality. Besides this, the panel of judges ought to comprise of persons from the fashion schools rather than designers.

It has been observed that the media-hype around the big designers and blatant commercialism has hindered business in the Indian fashion industry. No clear cut picture is provided regarding the feasibility of the products. Basically it is only the famous names that are being talked of. What they offer is not rather daily-wear. The entire focal point of the industry is on commercialism. The discussion is only regarding how much is sold and for what price and not one thing in regards to the designs or styles.

Efforts to create international fashion brands

It needs progressed designers, a seamless supply chain, control over marketing and distribution and concentration of quality while dealing with galore image. While a few have accomplished something in the west covering Tommy Hilfiger, Gucci, Zara, Armani, Versace, Ralph Lauren, etc, India has not been capable to track on.

A severe reason for India not being successful has been it is isolation in the fashion system. Each stakeholder including designers, exporters, textile players and merchandising chains need to come together along with the government to make sure that the position of Indian fashion is strong in the coming years.

There are respective agencies and industry associations that may support in brand-building practice. Many of these agencies require beautiful resources and making a international effigy of Indian fashion rather than independently attempting to publicize peculiar brands or textile segments.

Efforts to fabricate strong international image

Large textiles players require more and more to target on the market facing actions while devising an association with little medium enterprise (SME) clusters. Such kind of networks would be a gain to that which may focus on demand making and branding as well as for clusters that may focus on quality production.

Efforts to manufacture value networks

After the entry of huge merchandising chains like Wal-Mart, Gap etc in India, Small scale makers in India will find it very difficult to satisfy the demands of these global buyers if they carry on to publicize their merchandise individually. Therefore, it is very important that value networks are invented amid huge textile and apparel companies in India and little scale manufacturers, so that the retail muscle of the leading players may be applied for receiving huge orders while the more spectacular players then assign the orders to the small-medium endeavors according to their past record of quality and service. For this to be put into practice, it will be critical to well-organize the info on small-medium enterprise clusters in a perfective manner so that provider selection conclusions are made according to the selective information in the long run, only the more effective small-medium enterprise players survive and develop.

Efforts to concentrate on designers and designs

Designers have a rudimentary role to play in the future of Indian fashion scenario. There will have to consequently be an effective procedure for preparing these designers. This may be done by sponsoring interchange programs with international schools, increasing participations in the fashion capitals of the world, motivating and supplying business incubation to new designers and rewarding attempts through proper design awards.

Even in India, well-known designers are incapable to tap finances from well-organized resources, since a critical part of their sum totals are brands and design talent which are not measured in terms of cash and consequently it becomes difficult to judge the value. This has badly inhibited their development and capability to raise retail existence throughout the country and abroad. Likewise, there is no systematic approach of existence in the fashion capitals of the world like Paris, Milan and New York. Due to this, designers have to depend on their personal contacts and relationships for organizing fashion shows and making syndication alliances. The French government as well as the British government helps designers of their queer countries appreciably in these areas as they perceive that value creation through design is the only way to carry on in the competitory landscape of the global fashion industry. The Indian government and affiliated agencies will have to likewise receive this aspect of textile, apparel and fashion industry sincerely if they need to see India on the global fashion map.

Work in collaboration: designers-corporate efforts

Designers and a heap of organizations may work globally through respective models and with some working relationships. The Indian fashion industry has a good deal of views but only one such model, wherein a architect gives rise to a syndication crusade with his/her own brand through organized selling chains. There are a good deal of other models according to brand ownership and division of operational activities.

Globally, a great deal of models of collaboration among designers and corporates are available. For example Ralph Lauren has made an agreement with Jones Apparel for manufacturing and retailing respective Polo brands. Likewise, Armani had an agreement with Zegna for production, even while it was competing with them in the marketplace. There are galore cases of architect brands being co-owned by the designers and corporates, Gucci-Alexander McQueen and Gucci-Stella McCartney being a great deal of of them.

In the end, a good deal of architect businesses have been received by corporates where designers play a major role in the design parts of the business, but the brand and the establishment is owned altogether by the corporate.

The current possession of Calvin Klein by Philips Van Heusen and earlier holdings of Hugo Boss and Valentino by Marzotto are a lot of affiliated examples in this segment. These examples strongly point out that not only designers find such relationships necessary for development, but also corporates find these beautiful for rising their profitability and growth. Likewise deals in India could go a long way in devising the brand values of corporates and designers.

Developing clusters

Making mutual infrastructure for functioning such as design and sampling, affluent treatment, product testing, etc may aid in increasing the capability of the clusters since noteworthy investments could be made by the cluster itself rather than any single player.

Well-managed databases may support in decreasing search costs and through info mining, rating of players may be done so as to make the procurement routine more comfortable for buyers. Cooperative syndication programs at dissimilar clusters may also support players to grow up in the value chain by mixing their amount of energy within the cluster.

Cluster based battle in the fashion industry is characterized by the Italian industry. The National Chamber for Italian Fashion for example, supports the development of the fashion clusters at Milan and Florence in a well coordinated manner. Indian industry may learn a lot from Italy because India has a similar cluster based scattered production base, but has been incapable to link it with design and branding capability.

If the above activenesses are with great success considered, India could have an extraordinary development in the fashion industry, which could increase from a negligible size to Rs 8,000 crore in the coming decade.

Conclusion

In the 50s, 60s and 70s, the Indian fashion scenario was colorful and stylish, in the end of 20th century it was rather subdued and with the beginning of the 21st century it has geared up and is still experiencing the growth with some spectrums of colours. Though this industry is growing at a very good pace, besides achieving a negligible portion in the international market, still it needs to make severe attempts to stand amongst global fashion market in respective aspects.